Yeomen of the Guard photo by Lee Snyder
The New York Gilbert and Sullivan Players (NYGASP) opened their spring season, at Symphony Space at the start of May, with "The Yeomen of the Guard," ; most serious and most operatic of the G & S operettas, with a high level cast. "Yeomen" was guided with grand operatic flair by Artistic Director Albert Bergeret and Jan Holland, who directed, and conductor Jeffrey Kresky, who drew such sumptuous sound from the orchestra that it sometimes challenged the lyric singers. Evocative sets were by Richard Manfredi and Albere, costumes by Holland and Gail J. Wofford, and choreography by Janis Ansley-Ungar and Robin Bartunek.
The austere locale of "Yeomen" is the Tower of London, the English prison, site of climactic scenes from Gaetano Donizetti's Tudor " histories," and its music reflects the influence not only of the Italian bel canto masters, but also of Ludwig van Beethoven's "Fidelio," another opera set in jail. Quasi-medieval strains put in an appearance as well. The last are heard largely in music associated with Jack Point, the none-too-successful jester—in the chorus "Here's a man of jollity," which heralds his entrance with his singing partner, Elsie Maynard (Kimilee Bryant), in their duet "I have a song to sing, O!" and in his first solo.
The rapid-fire patter of Point's arias "I've jibe and joke" and "Oh! A private buffoon in a light-hearted loon" went trippingly o'er the tongue of experienced buffo baritone Stephen O'Brien, as it did in duets "Hereupon we're both agreed" and "My lord, 'twas I," which found him seconded by Tyler Bunch as galumphing jailer Wilfred Shadbolt. Sweet-voiced soprano Bryant made the most of Elsie's two Romantic opera arias, "'Tis done! I am a bride!" ; and "Leonard, my loved one—come to me." Bryant and O' Brien's final scene reprise of the street singers' duet, as she leaves him for another and attempts to let him down as gently as possible, was every bit as wrenching as it should be.
Among the men taking bel canto honors were tenor Keith Jameson, as the condemned Colonel Fairfax, who weds Elsie just before he is to die, and baritone Richard Holmes, as Sergeant Meryll of the Yeomen of the Guard, who saves Fairfax by passing him off as his son, Leonard Meryll. The former's ballads "Is life a boon?" and "Free from his fetters grim," ; a lighter-weight answer to Beethoven's Florestan's prison aria, and the latter's "A laughing boy but yesterday" were lyrical highlights.
Mezzo-soprano Melissa Parks, as crusty housekeeper to the Tower, Dame Carruthers, expressed her love for the fortress in a formidable "When our gallant Norman foes." As Sergeant Meryll bought her silence about the plot to save Fairfax with his hand (but not his heart), Parks and Holmes collaborated on a rollicking "Rapture, rapture," celebrating—or lamenting—the match. Melissa Unkel, as a lusty, vital Phoebe, Meryll's daughter, sang a sassy "Were I thy bride" to Shadbolt but, later, similarly promised him her hand (not her heart) to purchase his complicity.
Precise, perfectly blended ensembles merit mention as well, starting with " Fidelio"-style conspiracy trio, "Alas, I waver to and fro," for Unkel, Holmes and Mark Montague, as Leonard, and Donizettian "How say you, maiden, will you wed," for Bryant, O'Brien and baritone Keith Jurosko, as Tower Lieutenant Sir Richard Cholmondely. Parks, O'Brien, Holmes and Julie Price, as Dame Carruthers' niece, Kate, joined voices for an a cappella madrigal, "Strange adventure!" of Mozartian grace. As the dénouement neared, Bryant, Jameson and Unkel took part in the joyous "A man who would woo a fair maid," complete with cadenza in harmony, and affecting "When a wooer goes a-wooing," with O' Brien, with Elsie and Fairfax now the happy couple and Jack and Phoebe left in the lurch, not the usual stuff of comic operetta. Bryant, Unkel and Parks anticipated the forthcoming joint wedding in dulcet trio "'Tis said that joy in full perfection." Kudos to the full company for the two act finales, akin to "Lucia di Lammermoor" scenas, the first incorporating a recognition scene, funereal march and dramatic revelation scene, the second with a thundering septet introducing Elsie's final solo and contrasting duets with Fairfax and Jack Point.
The season continues with "H.M.S. Pinafore" (May 8-11), which returns during NYGASP's January 2004 season at City Center (16-18), when it is preceded by "Iolanthe" (9-11) and followed by "The Mikado" (23-25).
The Yeomen of the Guard, May 1-3 at 8 pm, 3 & 4 at 3 pm
H.M.S. Pinafore, May 8-10 at 8 pm, 10 & 11 at 3 pm
Symphony Space, 2537 Broadway at 95th Street
Tickets $36, 41 & 46 212/864-5400
Web addresses http://www.nygasp.org and http://www.symphonyspace.org
Iolanthe January 9-11, 2004
H.M.S. Pinafore January 16-18
The Mikado January 23-25
City Center, West 55th Street between 6th & 7th Avenues
Tickets on Sale June 2003 212/581-1212